JO205 D1 Visual Storytelling Spring 2020

JO205

Peter Smith
MasterLecturer
pasmith@bu.edu
www.buphotojournalism.com

Class:

   Wednesday

   2:30-5:15 pm

    COM214

Office
hours:

   Monday

   1:30-2:30pm +
   5:30-7:30pm

      B33

Office
hours:

   Wednesday

   12:30-1:30 pm

      B33


COURSE DESCRIPTION
JO205 is a visual reporting class for all journalism students at Boston University. Through weekly class meetings that include screenings, lecture, discussion, equipment instruction, in-class workshop and feedback sessions, students will gain experience in many aspects of multimedia storytelling, including audio production, shooting and editing photos and video, producing stories and portfolio publishing.  This class is essential for those who have a passion for storytelling and a curiosity to find and dig deeply into compelling visual stories.

The course has a deliberate progression to build skills through in-class exercises and assignments. While students will gain technical competency in multimedia production, the main objective is to learn and practice the fundamentals of reporting and visual storytelling. During the semester students will cover two stories in-depth, one of which is their final project. All stories must follow the rules of journalism to be truthful, fair, balanced, timely, and focused. Teamwork is an essential feature of the course. Your partner will be a valuable asset to help with classroom exercises and peer editing. Your partner will also provide a second set of hands to help with equipment and be there to help keep you safe while working in the community.

There are no prerequisites for this course. Any Boston University student may register with the permission of the instructor. This course offers an exciting opportunity for professional growth as students will acquire valuable visual storytelling skills, learn to take a creative approach to publishing original work to industry standards, to gain mastery of digital workflow and multimedia expression, and leave the course with an online portfolio.

HUB Learning Outcomes

Communication: Digital/ Multimedia Expression (one unit)
Throughout this course students will learn the fundamentals of photojournalism and video storytelling.

Students will use a scaffold approach to build storytelling skills using a digital toolkit that they will work with throughout the course. They will learn to produce and manage digital assets, shoot and edit still pictures and video, and layer audio interviews with ‘nat’ sound to create rich multimedia stories.  Students will produce and publish stories online.

Students will develop skills and concepts to produce photo, video and multimedia stories in the area of their interest. Students skills will progress during the semester through class exercises, assignments and in-depth reporting.

Intellectual Toolkit: Creativity/ Innovation (one unit)
Teamwork is an important component of this course. Students will learn to work with a partner and in small teams to assign tasks, strategize, provide support through peer editing and form crews that meet media industry standards.

Students will learn to step out of their comfort zone and communicate with people of different backgrounds. Communication skills will build during the course and students will need to use a creative approach to connect with their subjects and be able to recognize what stories and issues are unique and important to their community. Students will acquire creative skills as they learn to compose a photograph, frame a video clip, layer audio, create a story arc and edit and produce a final product.

STORYTELLING OUTCOMES
• Report, produce, and edit engaging multimedia stories
• Develop the skills to create clear, concise, and focused visual stories
• Acquire high competency for interviewing
• Shoot and edit compelling storytelling visuals
• Understand story arc and construction
• Develop skills for advanced journalism classes
• Develop editorial judgment to give and receive constructive criticism
• Work effectively alone and as part of a team
• Develop confidence to approach subjects
• Write detailed storytelling captions that include basic info such as who, when, where, and why.
• Engage with outside communities and with an audience
• Identify current and future trends in multimedia storytelling
• Students learn to cover stories in diverse and under-reported communities
• Students learn to avoid stereotypes in their storytelling

TECHNICAL OUTCOMES
• Understand the importance of light
• Operate a DSLR camera to shoot stills and video
• Operate an audio recorder to capture high-quality interviews and natural sound
• Understand visual aesthetics of composition, color, contrast, saturation and focus
• Understand how to shoot and sequence a variety of shots
• Create and maintain a digital asset management system
• Develop high competency to shoot and edit photos, video and audio

REQUIRED READING:
Students in JO205 are required to read the NYTimes, including the Lens Blog, daily.

REQUIRED READING:
Media Storm Field Guide

HIGHLY RECOMMENDED READING
Magnum Contact Sheets, BU Library
Doing Documentary Work, Robert Coles, BU Library
Read This If You Want To Take Great Photographs, Henry Carroll

NAMING CONVENTION
The class naming convention is always: yearmonthday_projectname_yourlastname_version
(example: 20190915_Portrait_Redfearn_1.mov)

END CREDIT REQUIREMENTS
Producers
Camera
Sound
copyright 2020
Boston University
College of Communication
Professor

Laptop and external HD:
Before you arrive to class, be sure to have a laptop that meets COM’s recommendations. This link also has a guide to help you choose an external hard drive. Make sure that your external hard drive is formatted to either Mac or Windows depending on your laptop type. Mac external hard drives should be formatted to ‘journaled.’ 

Adobe Creative Cloud You will need to download Adobe Premiere Pro and Adobe Lightroom for this course. You can download them once you sign up for Adobe Creative Cloud using your Kerberos username and password. This must be completed at least two days before the first class meeting.

Link to check out gear:  Check out

ASSIGNMENTS

Class Exercises
Students will also fulfill weekly in-class workshops that include pitching stories, photography, audio recording, video recording, and editing.

Photo Story of Place
Plant yourself in a neighborhood to tell a compelling story about a place and the people who live and work there. Plan to photograph your location either first thing in the morning or at sunset. Notice how the light changes as time passes. Demonstrate the skills we discussed in class: visual narrative, composition, exposure and focus.

Import your photos into Lightroom, and select 10 images for the in-class critique. Once you’ve received feedback from the class, select five final images and upload to your Adobe portfolio and class Smugmug site. Each final image must show mastery of focus, exposure, and composition, and tell an interesting story about your location. Captions required. Extra points will be given for creativity and strong story ideas.

Photo Story of a Person 
Find a compelling subject and tell us a story of that person through photography. Your final story will include 1) a tight portrait; 2) an environmental portrait; 3) a detail shot that reveals something interesting about the person, a scene-setter to tell us where we are. Demonstrate the skills we discussed in class: story, composition, exposure, focus, and DoF. 

This story is wide open for choice of subject. A waitress, a camera repair person, a doctor or a nurse, or maybe a coach or an athlete. 

Import to Lightroom, and select 10 images, adjust exposure and color for critique by partner and me. Once you’ve received feedback, select five final images to upload to your Adobe portfolio and class Smugmug site. Each final image must show mastery of focus, exposure, and composition, and tell an interesting visual story of the person. Captions required. Extra points will be given for creativity and strong story ideas. Students are not allowed to shoot assignments of people they know including friends, roommates and relatives

Audio Slideshow Multimedia Portrait   PW:205
This is the beginning of your work as a journeyman/woman multimedia storyteller. Work in teams of two to pitch a compelling, visual story for the Multimedia Portrait. Portrait ideas could include a story of a shopkeeper, athlete, or invisible worker. Photograph a series of images including portraits, photo sequences, details, and scene setting images. Demonstrate the skills we discussed in class: story, composition, exposure, focus, DoF, silhouette and motion. Organize photos, import into Lightroom, and select 15-18 images for the in-class critique. Extra points will be given for creativity and strong story ideas. Students are not allowed to shoot assignments of people they know including friends, roommates and relatives. Record an interview and ambient sound for your Multimedia Portrait to combine with your photo series. The final Multimedia Portrait story will include a well-edited interview, ambience, strong images, and titles. You may also use music, judiciously. Include final end credits and upload to your Wordpress portfolio and the class Smugmug site.

Video Story
Shoot a one minute process video of your partner. Use three at least three sound bites, include ‘nat’ sound, include at least two b-roll sequences. Once sequence must be of a process. Do not go wall to wall with sound bites. Leave space to hear ‘nat’ sound.

Final: NYT “Op Doc” Style Video, approx. 2-3 minutes
Students will work in teams of two to research, report, shoot, and edit a focused character-driven story about a timely issue. Your story must have a news peg. Focus on subjects telling stories in their own voice without narration or an on-camera reporter. The final video will include a well shot and edited interview, visual sequences, and b-roll. Include titles, graphics, and end credits. You may also use music, judiciously. Upload to your Wordpress portfolio and the class Smugmug site. No friends, roommates or relatives for this exercise. Students are not allowed to shoot assignments of people they know including friends, roommates and relatives.


DEADLINES, DELIVERABLES AND WEIGHTS

Assignment 1 Photo of Place, 10 Points, Due: Feb. 5
Assignment 2 Photo of Person, 10 Points, Due: Feb.12
Assignment 3 Multimedia, Audio-Slideshow, 20 Points, March 4
Assignment 4 Video Story (process film), 10 Points,  April 8
Assignment 5 Final Story, 30 Points, April 29
Adobe Online Portfolio, 10 Points, April 29
Participation, 10 Points

WEEK-TO-WEEK

WEEK ONE, Jan. 22
Intro to class and DSLR photography
Discussion: Introductions.
Overview of  gear and syllabus.
Screen multimedia and discuss.
Image composition, focus & exposure.
Journalism ethics, sources and defining a beat.

Homework (due next week)
• MediaStorm Field Guide Foreword and Chapter 1: Gear
• Order US B3 external hard drive and SD cards
Bring your camera, laptop, USB3 external hard drive, and SD card to class next week.

Reserve now! Check out 

WEEK TWO, Jan. 29
Discussion: Review camera menu, image composition, focus, and exposure. View and discuss examples of photojournalism.

Photo Workshop:
 Depth-of-Field and Stop Action.

Depth of Field:  Shoot two photographs of your partner from six feet away.  Find interesting background and good lighting. Shoot one photo with a wide aperture and shoot a second shot with a small aperture. Keep framing the same for booth shots.  Adjust shutter speed for proper exposure.

Shoot two action shots of your subject, background and lighting are important. Use shutter speeds of  1/125, 1/250 and 1/500 to stop action. Faster action requires a faster shutter speed to stop motion.

Editing Workshop:   Edit field trip pix using Lightroom

Homework (due next week)
Photograph a neighborhood (edit in class)   
shoot scene setter, action, portrait, detail and things unique to that neighborhood.                      
• MediaStorm Field Guide, Chapter 2: Finding the Story. 
3 simple ways to find story ideas 
• Start list of sources and story ideas in excel spreadsheet
• Bring your camera, laptop, USB3 external hard drive, and SD card to class next week.


WEEK THREE,  Feb. 5

Editing Workshop:  Edit Neighborhood assignment. 

Shooting Workshop:
  Photograph five portraits of your partner in landscape mode. Shoot three medium/tight pictures with a plain background with: soft light, direct light and artificial light. Also shoot one interior and one exterior environmental portraits. Shoot magazine quality. Control background and lighting. Shoot a variety of angles  focal lengths, and vary your distance to your subject.

Critique:  Neighborhood Story.

Discussion:
  What is a story? Discuss story, sources, and how to prepare for pitch. View and discuss several examples of successful visual stories.

Homework (due next week)
Shoot profile of a person. Review assignment description for details.

Prepare pitch for Multimedia Portrait.          
• MediaStorm Field Guide, Chapter 5: Stills for Multimedia
• Watch: How images used to perpetuate racist narratives in media: http://bit.ly/alexandrabell
• Bring your laptop and USB3 external hard drive to class next week.

WEEK FOUR,  Feb. 12
DSLR photography: light, composition, exposure, and multimedia storytelling
Review and Critique: Story of Person.
Workshop: Pitch Multimedia Portrait PW: 205

How to pitch a story.

Discussion: View and discuss several examples of photo essays and photo sequences. Discuss photographing stills for Multimedia Portrait. Discuss ethics and how images can be used to perpetuate racist and sexist narratives in media.

Homework (due next week)
• Photograph for multimedia portrait.
• Read This If You Want to Take Great Photographs of People: pages 42-77      
• MediaStorm Field Guide, Chapter 6: Audio
• Watch Adobe Premiere Pro beginner tutorials: 1-5 https://adobe.ly/2KJxUUX
• Complete list of sources in excel
• Bring a Zoom audio recorder, laptop, USB3 external hard drive, and SD card to class next week.

WEEK FIVE,  Feb. 19 
Audio storytelling: mic’ing, interview skills, natural sound and audio editing
Zoom H5 Setup, video (10 mins)
Critique: Review progress for Multimedia Portrait.
Workshop: Record a 5 min interview with your partner.
Discussion:
Pt. 1 Discuss the art of the interview, scene sound, and room tone.
Pt 2. Demonstrate transcription and creating a radio edit. View and discuss several examples of audio slideshows.

Homework (due next week)     
• Transcribe audio interview of your partner and bring to next class.
• Record interview and scene sounds for Multimedia Portrait. Transcribe your interview.
• Reshoot stills for Multimedia Portrait, if necessary.
• Watch Adobe Premiere Pro beginner tutorials (first five):
• https://helpx.adobe.com/premiere-pro/tutorials.html
• Bring your laptop and USB3 external hard drive to class next week.

WEEK SIX,  Feb. 26
Multimedia editing workshop: Rough to fine cut in Adobe Premiere
Workshop: Audio editing workshop: Bring interview of your partner and transcript to class.
Discussion: Discuss how to create a rough cut and fine cut edit. Adding room tone. Preparing stills for Premiere. Finalizing Multimedia Portraits with music (optional), lower thirds, titles, and end credits. View and discuss examples of successful portraits. Video editing tips.

Homework (due next week)
• Fine Cuts of Multimedia Portraits uploaded to class folder before class.
• MediaStorm Field Guide, Chapter 4: Video b-roll
• Watch Adobe Premiere Pro tutorials audio mixing: http://bit.ly/audiomixing
• Bring your camera, audio gear, laptop, USB3 external hard drive, and SD card to class next week.

WEEK 7,  Mar. 4
Video storytelling:
How to shoot and edit a b-roll sequence.
Review fine cuts for Multimedia Portrait.

Workshop: Shoot and edit video sequence of your partner, use external audio. Examples include working on the computer, tying a tie, and walking. Film establishing shots, WS, MS, CU, and ECU of the process to compress time.
Discussion: View and discuss camera settings, video b-roll, sequencing, and filming a process with natural sound. Discuss MediaStorm’s 4-15 rule.

Homework (due next week)
• Final Multimedia Portraits uploaded to class folder before class.
• Finish edit of process video and upload to class folder before class.
• Prepare pitch for final project (incl. pre-interviewing)
• MediaStorm Field Guide, Chapter 3: The Video Interview. Mid-semester student survey.

Spring Break

WEEK 8,  Mar. 18
Video storytelling: creating a visual road map for your video story. Opening/closing, visual process, etc.
Review and critique:  Review and critique final Multimedia Portraits. 
Workshop: Pitch final project
Discussion: Discuss elements of a visual plan and how to create an affective b-roll sequence. Discuss using a variety of angles, focal lengths and framing.

Homework (due next week)

• Create a visual plan for Final Project and upload to class folder before next class
• Each student picks one short doc (less than 5 minutes) to screen and discuss in class.

Two volunteers bring equipment to class: camera, audio, light, and tripod.

WEEK 9,  March 25
Video storytelling cont.: lighting and conducting video interviews. Transcription. Editing in Premiere.
Review:  Student process films.
Workshop: As a class, stage and conduct an interview with lights, camera, audio and action!
Discussion: Pt. 1 Conducting video interviews, interview lighting, sound, and team communication.
Pt 2: transcription and editing video in Premiere.

Homework (due next week)
• Film an interview with your subject, transcribe it, and output 1 minute for class review.
• Review Adobe Premiere Pro tutorials, if necessary: https://adobe.ly/2KJxUUX
• Bring your camera, laptop, USB3 external hard drive, and SD card to class next week.

WEEK 10,  April 1
Video storytelling cont.: filming action of subjects on the move
Critique: 1-minute interviews.
Workshop:  Film your partner on the move,  practicing handheld camera technique.
Discussion: Filming action and reaction. Filming with a tripod vs handheld. Review of video b-roll and sequencing.

Homework (due next week)

Combine process video and interview. Due next week.
• Radio edit of Final Project.
• Film and organize b-roll and sequences for final project.
• Review Adobe Premiere Pro tutorials, if necessary https://adobe.ly/2KJxUUX
• Bring your laptop and USB3 external hard drive.

WEEK 11,  April 8
Video storytelling cont.: from radio edit to rough cut
critique: process film with interview
Workshop: In class editing of radio edit to rough cut 1
Discussion:  Refining the edit of Final Projects.

Homework (due next week)

• Fine Cuts.
• Reshoot or additional shooting, as needed
• Bring your laptop and USB3 external hard drive.

WEEK 12,  April 15
Video storytelling cont.: from rough cut to final cut
Finish Fine cuts
Workshop: Adding music (optional), lower thirds, titles, and end credits
Discussion: Finalizing the video edit.

Homework (due next week)

• Reshoot or additional shooting, as needed
• Upload Final Cut to class folder before class.
• Bring your laptop, USB3 external hard drive, and SD card to class.

WEEK 13,  April 29
Video storytelling: Final cuts and the future of video storytelling
Screening and critique:  Final projects
Discussion: The future of visual storytelling

 

General Grading Policy
A  Excellent work that meets or exceeds the requirements. Work reflects solid research, skilled interviews, is accurate, has proper attribution, conforms to industry standard; multimedia elements (video, photos, audio, interactive) are sharp, focused, clear, appropriately edited, properly captioned, tagged and credited. Could run as is, or with very minor edits.

B  Good work with a few errors. May contain minor problem with focus, spelling/grammar, style, balance, organization; several multimedia elements are subpar (out of focus, poor sound quality, etc.) or exhibit one or two technical glitches. Could run with some editing.

C Average work. Failed to meet some of the requirements of the assignment. Shows lack of news judgment, accuracy, balance, etc., technical errors, subpar multimedia elements, poor selection of interactive elements. Could only run with significant editing or a complete overhaul.

D  Below average work that shows little or no understanding of the requirements of the assignment, numerous grammatical, style errors, major factual errors and failure to use assigned technology and tools properly.

F (0-59.9) Failure to turn in by deadline or significantly flawed work.

The National Press Photographers Association: NPPA

The National Press Photographers Association, a professional society that promotes the highest standards in visual journalism, acknowledges concern for every person’s need both to be fully informed about public events and to be recognized as part of the world in which we live.

Visual journalists operate as trustees of the public. Our primary role is to report visually on the significant events and varied viewpoints in our common world. Our primary goal is the faithful and comprehensive depiction of the subject at hand. As visual journalists, we have the responsibility to document society and to preserve its history through images.

Photographic and video images can reveal great truths, expose wrongdoing and neglect, inspire hope and understanding and connect people around the globe through the language of visual understanding. Photographs can also cause great harm if they are callously intrusive or are manipulated.

This code is intended to promote the highest quality in all forms of visual journalism and to strengthen public confidence in the profession. It is also meant to serve as an educational tool both for those who practice and for those who appreciate photojournalism. To that end, The National Press Photographers Association sets forth the following.

CODE OF ETHICS
Visual journalists and those who manage visual news productions are accountable for upholding the following standards in their daily work:

1. Be accurate and comprehensive in the representation of subjects.

2. Resist being manipulated by staged photo opportunities.

3. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one’s own biases in the work.

4. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.

5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.

6. Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.

7. Do not pay sources or subjects or reward them materially for information or participation.

8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage.

9. Do not intentionally sabotage the efforts of other journalists.

10. Do not engage in harassing behavior of colleagues, subordinates or subjects and maintain the highest standards of behavior in all professional interactions.

Ideally, visual journalists should:

1. Strive to ensure that the public’s business is conducted in public. Defend the rights of access for all journalists.

2. Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.

3. Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.

4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one’s own journalistic independence.

5. Strive to be unobtrusive and humble in dealing with subjects.

6. Respect the integrity of the photographic moment.

7. Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.

Percentage-based Grade Scale

A: 93-100

   B+: 87-89.99

   C+: 77-79.99

   D: 60-69.99

   F: 0-59.99

A-: 90-92.99

   B: 83-86.99

   C: 73- 76.99

   
 

    B-: 80-82.99

   C-: 70-72.99

   

GPA conversion

Search:

A

4.0

A-

3.7

B+

3.3

B

3.0

B-

2.7

C+

2.3

C

2.0

C-

1.7

D

1.0

F

0

Class Policies

How to Get an ‘A’ in This Course
• Be here each week, on time, ready to engage.
• Complete all reading and assignments on time.
• Exceed expectations!
• Participate in class and any online discussions.
• You get extra credit for: being enthusiastic, inquisitive, and open to learning new things.
• Think ahead. Anticipate upcoming requirements such as BU News Service assignments and the final project. Structure your time to do your best work.

Please restrict unrelated internet browsing, e-mailing, texting or other unassigned online activity during class. When we have guest speakers, please, no loud typing. Tweet, yes, but be discreet about it so as not to distract our guests and the rest of the class. Points will be deducted for spelling and grammatical errors.

Professionalism You will be called on to critique the work of your classmates and occasionally discuss ethical issues. There may be times when you disagree with another students’ comments. You will be expected to deal honestly but professionally with your classmates and the instructor of this course.

In addition to the assigned reading, you should read and watch “traditional” news in order to be able to discuss and analyze differences between the mediums.

Class Attendance
You are expected to be in class each week, on time. Roll will be taken. If you are ill or must miss a class for another reason, please alert me as soon as possible BEFORE class via email (preferably) or text. If you have an illness or emergency, which can be documented, your absence will be excused. However, you will be expected to complete any assignments that you missed during your excused absence. Missed assignments are due by the next class. Multiple unexcused absences will affect your final grade.

Late Assignments
Deadlines are a key concept in journalism. If you miss a deadline in the real world you might lose your job. Get used to filing assignments on time. Unexcused late assignments will not be accepted in this class. Grades are based on quality, content, and punctuality of work submitted.  Late assignments lose one grade (A to B) for each week they are late. Assignments that are not turned in receive zero credit. The final grade is an average of all grades received during the semester.  Assignments are DUE at the end of class.

Speakers
We will occasionally hear from speakers who work in online media. Because they are busy professionals whose schedules change constantly I have not listed specific dates and times for their appearances (well, most of them). I will announce speakers close to their scheduled date of arrival.

BU policy on recording in classes.

Recording
Please note that classroom proceedings for this course might be recorded for purposes including, but not limited to, student illness, religious holidays, disability accommodations, or student course review. Note also that recording devices are prohibited in the classroom except with the instructor’s permission.

University Policies

EQUAL OPPORTUNITY

BU has strict guidelines on classroom behavior and practices when it comes to treatment of students and guests on the basis of race, color, religion, sex, gender identity, sexual orientation, age, mental or physical disability, genetic information, military service, national origin, or due to marital, parental, or veteran status. Discrimination for any of these reasons is prohibited. Please refer to the Equal Opportunity/Affirmative Action Policy for more details.

DISABILITY SERVICES
If you are a student with a disability or believe you might have a disability that requires accommodations, please contact the Office for Disability Services (ODS) at 617-353-3658 to coordinate any reasonable accommodation requests. ODS is located at 19 Deerfield Street, up on the second floor.

STUDENT ATHLETICS
All student-athletes should be provided with a sheet from Student-Athlete Support Services regarding absences throughout the semester. These sheets should be handed in as soon as possible to avoid potential conflicts and so arrangements can be made to provide for missed lecture notes, classwork, or discussion.

Plagiarism and Fabrication
The College of Communication rules on plagiarism is applicable to this course.

Statement:
“Plagiarism is the act of representing another person’s creative and/or academic work as your own, in full, or in part. It can be an act of commission, in which one intentionally appropriates the words, pictures, or ideas of another, or it can be an act of omission, in which one fails to acknowledge/document/give credit to the source, creator and/or the copyright owner of those words, pictures, or ideas. Any fabrication of materials, quotes or sources other than those created in a work of fiction is also plagiarism. Plagiarism is the most serious academic offense that you can commit and can result in probation, suspension, or expulsion.”

Academic Code of Conduct
Be sure to read and comply with Boston University’s Universal Academic Conduct Code for undergraduate students.  It is available at: bu.edu/academics   Recording of Classes Statement Please note that classroom proceedings for this course might be recorded for purposes including, but not limited to, student illness, religious holidays, disability accommodations, or student course review. Note also that recording devices are prohibited in the classroom except with the instructor’s permission.